could be his sweeping grasp of jazz styles, which has allowed him to blend as easily with such swing and neo-swing masters as Bucky Plzzar- relli and Diana Krall as he does with fervent bop- pers like Roy Hargrove. VILLAGE VANGUARD 178 Seventh Ave. S., at 11th St. (255-4037)- Through Feb. 20: The Roy Hargrove quintet. Trumpeter Hargrove is feisty, historically aware, and blessed with a brassy, ringing tone, but his defining quality may be his sheer enthusiasm. Feb. 22-27: The Mark Turner quartet. Reconcil- ing the influences of polar-opposite tenor saxo- phonists John Coltrane and Warne Marsh is but one of Turner's more impressive accomplish- ments. He's the most mature and aesthetically satisfying tenorist of the current rash of young- ish players. The Vanguard Jazz Orchestra holds sway on Mondays. ART MUSEUMS AND LIBRARIES METROPOLITAN MUSEUM Fifth Ave. at 82nd St. (879-5500)-"Walker Evans," a comprehensive retrospective, the pho- tographer's first. Its sequence of understated black-and-white photographs of vernacular sub- jects, from roadside billboards to New York City subway passengers, traces the development of the artist from college dropout to forefather of the documentary genre. Evans is best known for his collaboration with James Agee, "Let Us Now Praise Famous Men"; the pictures of Depression- era sharecroppers are a high point of the show. The stoic expression on the woman in "Alabama Tenant Farmer's Wife," equal parts dignity and sorrow, has an emotional impact undiluted by the familiarity of the image. By comparison, the color Polaroids from the early seventies, which wind things up, seem like little more than a well- deserved folly. Through May 14. . "The World of Scholar's Rocks." Centuries before the pet- rock craze, Chinese artists were collecting small pieces of strangely eroded stone which mimic the craggy peaks and grottoes of mountains. While the paintings they inspired are often exquisite (a hundred are on view here), it's the rocks themselves that captivate. Some are more evocative than oth- ers-the black limestone "Rock in the Form of a Seated Tiger" could easily be named "Giant Wad of Chewing Gum" -but the intricacy of some of the tinier rocks makes it hard to believe they were wrought by nature. Through Aug. 20. . "Tilman Riemenschneider: Master Sculptor of the Late Middle Ages: Through May 14. . "Only the Best: Masterpieces of the Calouste Gulbenkian Museum, Lisbon." Through Feb. 27. (Open Tuesdays through Sundays, 9:30 to 5:30, and Friday and Saturday evenings until 9.) MUSEUM OF MODERN ART 11 W. 53rd St. (708-9480)-"Places" and "Things," two parts of the tripartite "Modern Starts" exhibition, offering works drawn from MOMA's permanent collection, all focussed on the years 1880-1920, continue through March 14. (Open Saturdays through Tuesdays, and Thurs- days, 10:30 to 5:45; Fridays, 10:30 to 8:15.) GUGGENHEIM MUSEUM Fifth Ave. at 89th St. (423-3500)-"The Worlds of N am June Paik," a retrospective devoted to the works of the Korean-born artist, features video installations, TV sculptures, and two site- specific laser projections, "Jacob's Ladder," which presents a waterfall of light tumbling down the rotunda and "Sweet and Sublime " which pro- jects changing geometric shapes onto the ro- tunda floor. Through April 26. (Open Sundays through Wednesdays, 9 to 6; Fridays and Satur- days, 9 to 8.) WHITNEY MUSEUM OF AMERICAN ART Madison Ave. at 75th St. (570-3676)-The mu- seum closes "The American Century" show, at the rate of a floor per week, through Feb. 26. (Open Tuesdays, Wednesdays, and Fridays through Sundays, 11 to 6 Thursdays 1 to 8.) 48 THE NEW YORKER, FEBRUARY 21 & 28, 2000 WHITNEY MUSEUM AT PHILIP MORRIS 120 Park Ave., at 42nd St. (878-2550)-Lee Boroson's "Underpass" is a bright-blue, nearly weightless public sculpture that rises from four- teen feet at its lowest point to a full height of more than forty feet and hovers above the leafy corporate atrium. At first glance, it looks stun- ningly goofy, like a cross between an air mattress and a freeway doverleaf. But it's also slyly site- specific: the sloping central trajectory of the piece echoes that of the actual highway ramp (the Grand Central Station overpass) visible outside the atrium window. Striking and yet flamboyantly harmless, this Brobdingnagian crib toy proclaims Boroson the cheerful aerial alternative to Rich- ard Serra. Through March L 7. (Open weekdays, 11 to 6, and Thursday evenings until 7:30.) AMERICAN MUSEUM OF NATURAL HISTORY Central Park W. at 79th St. (769-5100)-The Hayden Planetarium, in the new glass-sheathed Rose Center looks like what might have arisen if Sony had commissioned I. M. Pei to build the Centre Pompidou. Space Show tickets, designed as 3-D postcard-size "passports to the universe," let you enjoy a twenty-minute cosmic journey, nar- rated by Tom Hanks, which goes from Earth to the Milky Way out to the Virgo Supercluster, then through a black hole right back home. You can cruise the new building, size up exhibits that bog- gle the mind with postulations like "On this time line, each step you take is seventy-five million years long," and watch a mini star show that be- gins, "Hello and welcome to the Big Bang. I'm Jodie Foster." The planetarium opens on Feb. L9, with reservations for regular Space Shows advised, and available at 769-5200. . "Body Art: Marks of Identity." Through May 29. (Open daily, LO to 5:45, and Friday and Saturday evenings until 8:45.) BROOKLYN MUSEUM OF ART Eastern Parkway (718-638-5000)-The latest in- stallment in the museum's "Working in Brook- lyn" exhibitions showcases artists' books, includ- ing "Gazelle in the Donkey Stable," by Louise Bourgeois, "Miss Gowanus," by Meg Belichick, '\ " .-- '" . . + '.' "' ............ 3 ": . . ' ." . . } \. . , Janet ZweIg's flip-book "Scheherezade," and Peggy Doody's "A Very Famous Artist in a Williamsburg Studio Tour." Through April 16. (Open Wednesdays through Fridays, 10 to 5; Saturdays and Sundays, 11 to 6.) FASHION INSTITUTE OF TECHNOLOGY Seventh Ave. at 27th St. (217-5800)-David Levinthal has moved from ambiguously lifelike Barbie noir to full-on Barbie fashion shoots, showing these 1959-67 "teen fashion models" as they are, paint drips and all. Give MatteI credit for the makeup, applied permanently at each dollface's birth, and Levinthal's stylist Laura Meisner for the perfect coiffure. If the closeup "Untitled 66" seems particularly effective, per- haps that's because it's the most direct, with Bar- bie's perennially sidelong glance angled straight at the viewer. Through April 15. (Open Tuesdays through Fridays. noon to 8: Saturdays, LO to 5.) GALLERIES-UPTOWN Unless otherwzse noted, galleries are open Tuesdays through Saturdays, from around 10 or 11 to between 5 and 6. BERNARD CHAET Landscapes by this gruff, venerable painter and teacher. Though his favorite subject-the New En- gland coast-has been tarnished by generations of Sunday painters, Chaet renews it, charging the rocky horizon with skidding, nearly abstract arpeggios of raw color. "Night Ends," one of the finest of the new canvases, shows columns of mist rising from the ocean toward a vastly complicated sky, so packed with shards of cloud that it resembles a sbattered windshield. There's nothing new here, just plenty of old-fashioned exhilaration. Through Feb. 26. (MB Modern 41 E. 57th St. 371-3444.) PABLO PICASSO A print exhibition devoted to a single theme: the artist contemplating his model/muse/mistress. .:":- : *-. , '\ " ......... ..- .; \;.' ", \ .... .:", """" i,.. . _'" - ': :'y.;, <', (. . . . . ':';': .:1 .{.7 . :-:.,:':-:, ;-. " ...... . ii. ,of ' ':", . '<I . ... :.; : 4: .:tL. ,. .. z Z <t: w Z I c... o I- c.::: "Underpass," an installation by Lee Boroson, at the Whitney Museum at Philip Morris. 0